The ideal city of Soviet architects was divided into

housing, industry. They were separated from vast

concept. Stylistically, according to the Stalinist ar

theoreticians of the Soviet regime, Mihail Pavlovici Japenko or Anatoli Lunacearski, apologists for

the "party aesthetics" consecrated in !937, architecture should not only reflect the ideas of

strength of the epoch, but also have a great, timeless breath, crossed by the neoclassical spirit.

The neoclassical decorative repertoire was considered infallible, and, keeping the proportions

rigorously, shaped the small but perfectly coherent city of Dr. Petru Groza. The facades of all

representative buildings have the leit-motif of the classical balustrade, present at the balconies'

parapets, attic, to the rectangular fields under the windows. The balusters are used extensively at

the entrance hall and at the upstairs parlor of the House of Culture's foyer. This foyer is

particularly elegant, with harmonious proportions and impressive amplitude. The top floor balcony

is supported by a peristyle with high columns with classic Corinthian chapiter that are impeccably

executed. The entire area proves an excellent knowledge of the classic style that only experienced

architects possess. This foyer has nothing of the provincial air. lt is clear that the work was

conceived and made by Moscow architects and craftsmen, which gives it authenticity through a

certain patrimonial value. On this floor you could climb onto a monumental ladder, which had a

great painting of Lenin painted in oil. On the ground floor there were entrance doors to the

cinema and shows, and it had the same harmonious proportions and the same amplitude as all the

spaces of the House of Culture. The Renaissance style vaulted ceiling of the foyer is decorated with

rosettes, jewels and egg shapes specific to the classic idiom. The column capitals, decorated with

acanthus leaves in the most authentic Corinthian order, seem detached from the molds of the

architecture academies and Belle Arte.

The Administrative Palace has a martial, sober appearance with a dynamic face of three jutties.

The centraljutty is amplified by a highly profiled portico. This portico placed in the symmetry axis

has in the symbolic plan the appearance of a Roman triumphal arch due to the three arcades of

semicircular shape. lts powerful relief creates above it an ample balcony with a true official tribune

from where the gaze dominates the main street to the perspective end of the Sports Center and

Swimming Pool. Four rounded semicircular columns unite the two floors. A triangular fronton 

crowns the entire classical Greek-Roman inspired spatial composition. The building houses a

valuable collection of mineral samples with rare metals extracted from the area, original 50's

safes, furniture and lamps of the same period. These design elements of the '50s are of some

tourist interest. The whole building keeps almost intact the gloomy atmosphere with its aura of

mystery and occult power, decades of Soviet totalitarian and post-Soviet times, which makes it

extremely interesting in the context of the ATRIUM Cultural Route.